Okay, Flight gang! Here are the questions from Popimage's
Jonathan Ellis for our little group interview. Don't forget about those creator-specific questions!
How did you get involved with Flight?
Tell us about your story and what inspired it?
One of strongest things the Flight anthology has going for it is its sense of community in drawing so many creative people from different walks of life all under one banner. How has this implication of convergence influenced you or affected your work?
How do you feel your piece contributes to the overall quality and diversity of this book? [And just so you know – you all have something very distinct about your styles and your stories that make you perfect for being involved with Flight.]
What’s next for you following Flight? [Note-use this Q to pimp yourself to your hearts content – be sure to mention any websites or forthcoming projects you’d like to promote]
So for those still without the first volume how did the whole Flight book come together?
The amount of contributors you have definitely assures future volumes so how did you decide on having the second volume at a page count of 304 pages?
I know you pretty much let the contributors create to their hearts content but were there any restrictions put in place, to keep it suitable for an all ages audience for instance?
With so many people showing interest in getting into Flight now have you felt it necessary to set up any sort of screening process or had to tell someone they weren’t ready?
When did you first start penning the adventures of Copper?
For those unfamiliar, tell us about your book Daisy Kutter.
Your contribution to Flight is large enough to warrant a one shot comic, but do you think stories like these can work outside an anthology? That perhaps some are better suited for a collected book?
Do you have plans to target specific creators for contributions to upcoming volumes of Flight?
How does working in a comics page compare to working in animation?
You tend to draw inspiration from old mythologies and fantasy, is this something carried over from childhood or more of an artistic discovery?
Are there any mythologies you find particularly stimulating?
Could you tell us about your series Horus?
I notice you like to use bold lines and elongated anatomy in your art, and were possibly influenced by Dungeons and Dragons at some point, maybe even a little bit of a Mark Andrews influence, who are some of your artistic inspirations?
What are some of your favoured experiences in the world of art? I see you’ve done everything from storyboards to comics, to face painting and caricatures.
Could you tell us about your project Smoke?
You’ve got a very strong sense of layout – leading the eye from one point in the page to another, so I was kind of surprised to see you were a toy designer as opposed to something like storyboarding or animation. What lead you to that position?
You also do illustration pieces, who are some of your clients?
Tales From Under Your Bed was your big self-publishing venture this past year, do you intend on bringing this book to a North American audience?
I’m not certain but you may be the only one here who’s worked on an Oscar award winning film. Could you tell us about your involvement in Bowling For Columbine and the forthcoming Robots?
Your work really tends to be young reader oriented, are children’s books something you’d ultimately like to move towards?
Tell us about Silent Kimbly
Bonjour Bannister. Or do you prefer Nikko now? What sort of differences do you notice between working for a European market vs. North American? Do you have a preference?
How has Manga influenced your work?
These days is your work more veered towards illustration projects?
Hope, we all know you’re a star and it’s just a matter of time until everyone realizes it so let’s talk about some of your creative influences. Your sense of storytelling has a very fluid [whenever I use the word ‘fluid’ to describe someone’s art it’s a good thing] and natural flow, which not everyone can capture as well as you have, what inspired you in developing your artistic style?
Have you found that moving has affected your stories or art?
Kean, baby, boobala, your stories always have a strong emphasis on natural emotion, I say natural because although they’re potent they remain relatable to the reader. Now when the thought of Flight may present some people with a fantastical head frame, you instead tend to veer towards humanistic and poetic, is this more of a theme in your work or just the stories you feel you need to tell?
Kean, you also have a strong sense of storytelling, I’m guessing you’re a Mignola fan?
Hope & Kean:
Secret Friend Society… Spill it. What’s up?